By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Duboff, Jeffrey Sultanof, Alex Chilowicz, and Andrew Homzy. Arranged by Eddie Sauter. For string ensemble (score and parts) (Soloist (parts in concert, B-flat, and E-flat), Violin I (8 parts), Violin II (8 parts), Viola (5 Parts), Cello (5 Parts) , Double Bass (3 Parts), Harp, Piano/Celeste, Percussion (Snare Drum, Marimba, Tambourine)). Advanced. Score and parts. Published by Jazz Lines Publications

By Matt Turner. For Violin I, Violin II, Violin III, Viola, Cello, Bass, Piano, Percussion 1 - Guiro, Percussion 2 - Conga, Percussion 3 - Bongos and Triangle. Carl Fischer Young String Orchestra Series. Grade 2-2.5. Score and parts. Published by Carl Fischer

Viola. Composed by George Gershwin (1898-1937). Arranged by William Zinn. Collections; Masterworks; Performance Music Ensemble; String Orchestra Collection; Tony. 20th Century; Broadway; Masterwork Arrangement; Standard. Book. 16 pages. Alfred Music #00-0547B. Published by Alfred Music

Arranged by William Zinn. For String Bass. String Orchestra Collection. Book. Published by Alfred Publishing.

Orchestra String Orchestra - Grade 1.5-2

SKU: CF.FAS27

Composed by Larry Clark. Carl Fischer First Plus String Orchestra Series. Score and Parts. With Standard notation. 8+8+5+5+5+2+8 pages. Carl Fischer Music #FAS27. Published by Carl Fischer Music (CF.FAS27).

ISBN 9780825854835. UPC: 798408054830. 8.5 X 11 inches. Key: D major.

The title depicts the uplifting nature of the piece that inspires young players to have confidence and respect while living with character and integrity. The music is characterized by strong melodic intervals of fourths and fifths and dynamic contrasts, a Larry Clark signature that has made his music so popular. In addition, every player is an important part of the music. This is a perfect showpiece for developing groups for concerts or festivals.
As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.
As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values.A Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.
As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.
As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece.I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again.The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students.It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program.LARRY CLARKLakeland, Florida 2004.

(Holiday). Composed by Elliot Del Borgo. For String Orchestra (violin I, violin II, viola, cello, contrabass, rehearsal piano). Orchestra Music. Grade 1.5. Score and parts. Duration 2:40. Published by C. Alan Publications

Arranged by Carrie Lane Gruselle. Arr. Carrie Lane Gruselle. For String Orchestra. String Orchestra. String Orchestra. Spiritual. Level: 3 (grade 3). Conductor Score and Parts. 2 pages. Published by Alfred Publishing.

By George Sweet. For Full Score, Violin I, Violin II, Violin III, Viola, Cello, Bass, Piano. Carl Fischer Young String Orchestra Series. Grade 2-2.5. Score and parts. Published by Carl Fischer

Composed by Matt Turner. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, drums, piano). Score and parts. Duration 3 minutes, 02 seconds. Published by Carl Fischer

By Doris Gazda. For Full Score, Violin I, Violin II, Violin III (Viola Tc), Viola, Cello, Bass, Piano. Carl Fischer Concert String Orchestra Series. Grade 3 and up. Score and part(s). Published by Carl Fischer

Composed by Henry Purcell (1659-1695). Arranged by Doris Gazda. For string orchestra (violin I, violin II (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 2 minutes, 59 seconds. Published by Carl Fischer

By Larry Clark. For string orchestra. Carl Fischer First Plus String Orchestra Series. Grade 1.5-2. Score and parts. Published by Carl Fischer

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (CF.YAS13F).

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

By Sean O'Loughlin. For string orchestra. Carl Fischer Primer String Orchestra Series. Grade 0.5. Score and parts. Published by Carl Fischer

By Harry Walters. Arranged by Larry Moore. Pop Special String. 64 pages. Published by Hal Leonard.

Orchestra String Orchestra - Grade 1.5-2

SKU: CF.FAS11

Composed by Larry Clark. FS SWS. Carl Fischer First Plus String Orchestra Series. Classical. Score and Parts. With Standard notation. 8+8+5+5+5+2+8 pages. Carl Fischer Music #FAS11. Published by Carl Fischer Music (CF.FAS11).

ISBN 9780825845048. UPC: 798408045043. 8.5 X 11 inches. Key: G major.

This outstanding original from Larry Clark can be played any time of year! A vigorous theme moves through all the sections and violas combine with second violins for prominent solo passages. A section in minor adds to the drama as strong rhythmic chords give way to a subdued tremolo in the first violins, reminiscent of Vivaldi's Winter This music reaches a level of intensity your players and audience will love.
Out of the Winter is a musical depiction of the many moods of winter from its harsh storms to its simple beauty. The composition is based on a central main theme that is musically developed throughout the composition presented in and out of major and minor keys.The main theme begins right away without introduction and is set to depict the simple delicate beauty of a light falling snow. The theme is then developed in the minor key using simple contrapuntal techniques that give the composition a fresh sound for pieces at this grade level. The aggressive development of the piece is a musical description of a powerful winter storm. The tension of this section is built to a climax using simple divisi in the strongs and some poly-chordal harmonic techniques that give way to a final return of the main theme to complete the piece.Special care should be given to exaggerating the contrast between the two diverse sections of the piece. The main theme should be light and uplifting. The second section with the theme in minor should have an ominous presence, but still be reminiscent of the original light main theme. As with all of my compositions at this grade level, adjust the tempo to fit the ability level of your students. It is hope that this piece helps to reinforce the concepts of good musicianship which you are trying to instill in your students. Bowings should be used as a guide and should be adjusted to your needs.It has been my pleasure to have had the opportunity to write this piece. I hope that you and your students find it useful for your program.